VITA NOVA 
dir. Dmytro Zavora

The film starts with a scene of veterans,limbs missing, making their way on crutches, amidst the rubble of a destroyed post-war German city. Over a decade ago, this image could have been a mere flashback from World War II archives and chronicles. Today, it resonates strongly with the war-time reality of Ukraine and it's victims.

It is an adaptation of a short story by Joseph Reding – a simple story, but one that gives us a spark of hope in times of despair – out of the hundred people attempting suicide, ninety-eight have finally chosen life over death. There are still reasons to go on.

When chosing to make an adaptation, however, one must ask oneself – why does this story need to be told again in the form of an animated film? Surely, it resonates strongly today and deserves to be retold, but why in this shape? What is the added value? Should it be told as close to the original as possible, in the exact setting?

What if – with adjusted details - the story was taking place in today's Ukraine? On the other hand, post-war Germany is the defeated agressor, which we're looking at. It makes us think about the protagonist and his past - what role did he play during the war? We see flashbacks of an accident he caused, but there must be more - more horror, more loss, more guilt?

The author chose 3D animation, which is very difficult medium, requiring a lot of effort to make making the created world seem more organic. Here, it is too clean, too perfect – almost sterile, which strangely resonates with the interior of the pharmacy. Somehow the cleannes, the shiny floors and spotless uniforms of the pharmacists emphasise the clarity of the dilemma and the sharp calculation with which the pharmacist dissects it.

But what about the world outside? We're missing the dirt and the mud, the dust and the light, in short – we're missing the life in it. What doesn't help is the movement of the characters - slow and stiff, especially at close-ups, and the smooth movements of the camera, which – if a bit more shaky - could be a great tool in adding an organic touch to the reality created. The scenes, where the protagonist is seen walking from a distance look slightly more natural, but overall, the movements seem artificial. Maybe live action would have been a better choice?

Like the visuals, the sound seems unnaturally clean, as if distilled from reality, usually so full of multi-layered noises. The music chosen for the soundtrack definitely strikes with the emotional chords of the story – starting with Offenbach, followed by a musical piece strongly resembling Michael Nyman's 'To the Edge of the World' from the soundtrack of 'The Piano'.

The strongest point in the film, however, remains that the director chose to tell this story, even if the result is far from perfect - despite everything, there is hope.